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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Later, Witherspoon appeared in \u003cem>Good Times, What’s Happening!!\u003c/em> and \u003cem>The Incredible Hulk\u003c/em>, among others. He became a regular on \u003cem>The Richard Pryor Show. \u003c/em>Years later, he had recurring roles in \u003cem>The Wayans Bros.\u003c/em> and \u003cem>The Tracy Morgan Show.\u003c/em>\u003c/p>\n\u003cp>He voiced Robert “Granddad” Freeman in the animated sitcom \u003cem>The Boondocks, \u003c/em>which wrapped in 2014. However, in May, Witherspoon \u003ca href=\"https://www.complex.com/pop-culture/2019/06/boondocks-reportedly-returning-for-season-5-says-john-witherspoon\">said the show and his character were set for a revival.\u003c/a>\u003c/p>\n\u003cp>His feature films included \u003cem>Hollywood Shuffle, Boomerang, Vampire in Brooklyn, I’m Gonna Git You Sucka, Bird, The Meteor Man\u003c/em> and all three of the \u003cem>Friday\u003c/em> comedies starring Ice Cube and Chris Tucker — \u003cem>Friday\u003c/em> (1995), \u003cem>Next Friday\u003c/em> (2000) and \u003cem>Friday After Next\u003c/em> (2002).\u003c/p>\n\u003cp>Ice Cube tweeted that “Life won’t be as funny without him.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Witherspoon is survived by his wife, Angela, and two sons, JD and Alexander. The family was “in shock” over his death and asked for privacy.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“John used to say ‘I’m no big deal,’ but he was huge deal to us,” the family said in a statement. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Film+And+Television+Comic+John+Witherspoon+Dies+At+77&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Sway Calloway's Free Block Party Celebrates Oakland's 'Cultural Well'",
"headTitle": "Sway Calloway’s Free Block Party Celebrates Oakland’s ‘Cultural Well’ | KQED",
"content": "\u003cp>As one of the rap world’s most respected interviewers, Sway Calloway has held court with Barack Obama, become a meme with Kanye West (“\u003ca href=\"https://www.youtube.com/watch?v=Xwc-_DJEvgE\" target=\"_blank\" rel=\"noopener\">How Sway?!\u003c/a>“), and hosted popular programs on 106.1 KMEL, MTV and Sirius XM.\u003c/p>\n\u003cp>On Friday, Oct. 18, he returns to his hometown of Oakland for the first edition of Sway Fest, a live talk show and block party outside of Pandora headquarters, with performances from ’80s R&B icon (and Prince’s former drummer) Sheila E.; Oakland rap stars G-Eazy and Kamaiyah; the Town’s busiest MC, activist and entrepreneur, Mistah F.A.B.; up-and-coming Berkeley lyricist Rexx Life Raj and 17-year-old rapper and poet Jwalt. Admission is open to the public and free.\u003c/p>\n\u003cp>Highlighting the Bay Area’s homegrown hip-hop scene has been an ongoing theme in Sway’s storied career in music media. Now based in New York, he regularly makes room for Northern California talent on his SiriusXM show \u003cem>Sway in the Morning \u003c/em>among a roster of superstars.\u003c/p>\n\u003cp>“The mission was to always help the underdog, the artists who didn’t have the affiliation or resources to be on a mainstream platform,” Sway tells KQED.\u003c/p>\n\u003ch2>A Crucial Voice on ’90s Rap Radio\u003c/h2>\n\u003cp>Sway’s first gig in radio was \u003cem>The Wake Up Show\u003c/em> on KMEL, in 1990s San Francisco. After he won a local rap contest, and his music partner King Tech won a DJ contest, they were invited to guest-host a mix show on the station. When listeners called in praising Sway and King Tech’s music selection, the duo was offered a regular show. Known as keen tastemakers, Sway and King Tech used \u003cem>The Wake Up Show\u003c/em> to introduce their Northern California audience to seminal rap artists like The Fugees and Outkast, Sway recalls, and featured an ongoing segment of freestyle rap performances from then-rising stars like Jay-Z, Nas and Eminem.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/SIRIUSXM/status/1183876950152101888?s=20\u003c/p>\n\u003cp>Sway spent the better part of the 2000s at MTV, where he was best-known as the host of \u003cem>Total Request Live\u003c/em>. In 2011, as satellite radio began to take off, he migrated to Sirius XM, where he now hosts \u003cem>\u003ca href=\"https://swaysuniverse.com\" target=\"_blank\" rel=\"noopener\">Sway in the Morning\u003c/a> \u003c/em>on Eminem’s Shade45 channel. (Sirius \u003ca href=\"https://www.kqed.org/arts/13849625/pandoras-new-corporate-parents-gave-millions-to-trump-gop\" target=\"_blank\" rel=\"noopener\">recently acquired the streaming service Pandora\u003c/a>, where Sway Fest will take place.)\u003c/p>\n\u003cp>No matter where he broadcasts from, it’s clear Sway’s heart is in Oakland.\u003c/p>\n\u003cp>“W\u003cspan style=\"font-weight: 400\">ith Sirius XM, and now Pandora included, these are tech companies and they do pretty well. And now, they’re building their roots in Oakland. So \u003c/span>I think it’s important that we bring things to Oakland, and feed that cultural well of Oakland, that community,” says Sway. “And make sure that the folks who are actually from Oakland are able to benefit from these resources, that they’re recognized and that they’re able to enjoy the profits that will be coming in the near future.”\u003c/p>\n\u003cp>Along with a live talk show and musical performances at Sway Fest, Sway will interview activists from \u003ca href=\"https://kongosqwest.com/\" target=\"_blank\" rel=\"noopener\">Kongo SQ West Kinship Society\u003c/a>, which will collect donations of sweaters and socks for those in need, and the \u003ca href=\"http://choosecollege4life.com/\" target=\"_blank\" rel=\"noopener\">Choose College Educational Foundation\u003c/a>, a group that offers scholarships to local youth.\u003c/p>\n\u003ch2>Championing Bay Area Artists\u003c/h2>\n\u003cp>G-Eazy, who freestyled on \u003cem>Sway in the Morning\u003c/em> before scoring 10 entries on the Billboard Hot 100, is one of those artists Sway has championed from the early days of his career, when he was still selling CDs out of his backpack.\u003c/p>\n\u003cp>“I don’t think it was luck,” Sway says of G-Eazy’s rise. “I think it was a lot of hard work, mixed with talent, mixed with more hard work.”\u003c/p>\n\u003cfigure id=\"attachment_13868288\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868288\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/886607416-sway-and-g-eazy-800x533.jpg\" alt=\"G-Eazy talks with SiriusXM host Sway Calloway during G-Eazy's album premiere special for "The Beautiful & Damned" on SiriusXM's Shade 45 channel on December 5, 2017 in New York City. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/886607416-sway-and-g-eazy-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/886607416-sway-and-g-eazy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/886607416-sway-and-g-eazy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/886607416-sway-and-g-eazy-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/886607416-sway-and-g-eazy-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/886607416-sway-and-g-eazy-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">G-Eazy talks with SiriusXM host Sway Calloway during G-Eazy’s album premiere special for “The Beautiful & Damned” on SiriusXM’s Shade 45 channel on December 5, 2017 in New York City. \u003ccite>(Astrid Stawiarz/Getty Images for SiriusXM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And Mistah F.A.B. is someone Sway has known since his \u003cem>Wake Up Show\u003c/em> days, when he was introduced to Sway as an out-of-this-world freestyle rapper. In the years that followed, F.A.B. became one of the defining voices of the Bay Area’s hyphy movement, co-wrote a hit single for Chris Brown, pioneered many philanthropic projects and opened a streetwear boutique-meets-community hub, Dope Era.\u003c/p>\n\u003cp>“He’s always in the heart of the community,” Sway says with admiration. “Whether he’s giving away backpacks, or creating safe spaces for kids to come to and be creative at Dope Era, he consistently makes music.”\u003c/p>\n\u003ch2>Deeper Than Rap\u003c/h2>\n\u003cp>These days, \u003cem>Sway in the Morning\u003c/em> and the online platform \u003ca href=\"https://swaysuniverse.com/\" target=\"_blank\" rel=\"noopener\">Sway’s Universe\u003c/a> are more than just hip-hop. Recently, Sway interviewed UC Berkeley \u003ca href=\"https://swaysuniverse.com/mary-e-power-talks-global-warming-hurt-ecosystems-and-the-serengeti-rules/\" target=\"_blank\" rel=\"noopener\">ecologist Mary E. Power\u003c/a> on climate change, and Sway’s Universe correspondent Mike Muse often reports on political issues like the rise of white nationalism.\u003c/p>\n\u003cp>That sums up Sway’s view of his show—and hip-hop as a medium—as a place where people can hold dialogue, even if they disagree. (Of Kanye West’s transformation into an avowed Trump supporter, he diplomatically says, “I think he’s well within his rights to have the political views that he has.”)\u003c/p>\n\u003cp>“We wheel out a lot of folks to speak from different perspectives and different sides of the fence, and sometimes folks get upset,” he says. “And I say, nah, it’s good that we all hear each other’s voices.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Sway Fest takes place on Oct. 18, 9am-1pm, on the block outside of Pandora Headquarters (on Franklin Street, between 21st and 22nd Streets in Oakland), and streams on Sirius XM channel 45. \u003ca href=\"https://www.prnewswire.com/news-releases/siriusxm-and-pandora-to-launch-inaugural-sway-fest-2019-on-october-18-300931265.html\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As one of the rap world’s most respected interviewers, Sway Calloway has held court with Barack Obama, become a meme with Kanye West (“\u003ca href=\"https://www.youtube.com/watch?v=Xwc-_DJEvgE\" target=\"_blank\" rel=\"noopener\">How Sway?!\u003c/a>“), and hosted popular programs on 106.1 KMEL, MTV and Sirius XM.\u003c/p>\n\u003cp>On Friday, Oct. 18, he returns to his hometown of Oakland for the first edition of Sway Fest, a live talk show and block party outside of Pandora headquarters, with performances from ’80s R&B icon (and Prince’s former drummer) Sheila E.; Oakland rap stars G-Eazy and Kamaiyah; the Town’s busiest MC, activist and entrepreneur, Mistah F.A.B.; up-and-coming Berkeley lyricist Rexx Life Raj and 17-year-old rapper and poet Jwalt. Admission is open to the public and free.\u003c/p>\n\u003cp>Highlighting the Bay Area’s homegrown hip-hop scene has been an ongoing theme in Sway’s storied career in music media. Now based in New York, he regularly makes room for Northern California talent on his SiriusXM show \u003cem>Sway in the Morning \u003c/em>among a roster of superstars.\u003c/p>\n\u003cp>“The mission was to always help the underdog, the artists who didn’t have the affiliation or resources to be on a mainstream platform,” Sway tells KQED.\u003c/p>\n\u003ch2>A Crucial Voice on ’90s Rap Radio\u003c/h2>\n\u003cp>Sway’s first gig in radio was \u003cem>The Wake Up Show\u003c/em> on KMEL, in 1990s San Francisco. After he won a local rap contest, and his music partner King Tech won a DJ contest, they were invited to guest-host a mix show on the station. When listeners called in praising Sway and King Tech’s music selection, the duo was offered a regular show. Known as keen tastemakers, Sway and King Tech used \u003cem>The Wake Up Show\u003c/em> to introduce their Northern California audience to seminal rap artists like The Fugees and Outkast, Sway recalls, and featured an ongoing segment of freestyle rap performances from then-rising stars like Jay-Z, Nas and Eminem.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Sway spent the better part of the 2000s at MTV, where he was best-known as the host of \u003cem>Total Request Live\u003c/em>. In 2011, as satellite radio began to take off, he migrated to Sirius XM, where he now hosts \u003cem>\u003ca href=\"https://swaysuniverse.com\" target=\"_blank\" rel=\"noopener\">Sway in the Morning\u003c/a> \u003c/em>on Eminem’s Shade45 channel. (Sirius \u003ca href=\"https://www.kqed.org/arts/13849625/pandoras-new-corporate-parents-gave-millions-to-trump-gop\" target=\"_blank\" rel=\"noopener\">recently acquired the streaming service Pandora\u003c/a>, where Sway Fest will take place.)\u003c/p>\n\u003cp>No matter where he broadcasts from, it’s clear Sway’s heart is in Oakland.\u003c/p>\n\u003cp>“W\u003cspan style=\"font-weight: 400\">ith Sirius XM, and now Pandora included, these are tech companies and they do pretty well. And now, they’re building their roots in Oakland. So \u003c/span>I think it’s important that we bring things to Oakland, and feed that cultural well of Oakland, that community,” says Sway. “And make sure that the folks who are actually from Oakland are able to benefit from these resources, that they’re recognized and that they’re able to enjoy the profits that will be coming in the near future.”\u003c/p>\n\u003cp>Along with a live talk show and musical performances at Sway Fest, Sway will interview activists from \u003ca href=\"https://kongosqwest.com/\" target=\"_blank\" rel=\"noopener\">Kongo SQ West Kinship Society\u003c/a>, which will collect donations of sweaters and socks for those in need, and the \u003ca href=\"http://choosecollege4life.com/\" target=\"_blank\" rel=\"noopener\">Choose College Educational Foundation\u003c/a>, a group that offers scholarships to local youth.\u003c/p>\n\u003ch2>Championing Bay Area Artists\u003c/h2>\n\u003cp>G-Eazy, who freestyled on \u003cem>Sway in the Morning\u003c/em> before scoring 10 entries on the Billboard Hot 100, is one of those artists Sway has championed from the early days of his career, when he was still selling CDs out of his backpack.\u003c/p>\n\u003cp>“I don’t think it was luck,” Sway says of G-Eazy’s rise. “I think it was a lot of hard work, mixed with talent, mixed with more hard work.”\u003c/p>\n\u003cfigure id=\"attachment_13868288\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868288\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/886607416-sway-and-g-eazy-800x533.jpg\" alt=\"G-Eazy talks with SiriusXM host Sway Calloway during G-Eazy's album premiere special for "The Beautiful & Damned" on SiriusXM's Shade 45 channel on December 5, 2017 in New York City. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/886607416-sway-and-g-eazy-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/886607416-sway-and-g-eazy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/886607416-sway-and-g-eazy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/886607416-sway-and-g-eazy-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/886607416-sway-and-g-eazy-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/886607416-sway-and-g-eazy-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">G-Eazy talks with SiriusXM host Sway Calloway during G-Eazy’s album premiere special for “The Beautiful & Damned” on SiriusXM’s Shade 45 channel on December 5, 2017 in New York City. \u003ccite>(Astrid Stawiarz/Getty Images for SiriusXM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And Mistah F.A.B. is someone Sway has known since his \u003cem>Wake Up Show\u003c/em> days, when he was introduced to Sway as an out-of-this-world freestyle rapper. In the years that followed, F.A.B. became one of the defining voices of the Bay Area’s hyphy movement, co-wrote a hit single for Chris Brown, pioneered many philanthropic projects and opened a streetwear boutique-meets-community hub, Dope Era.\u003c/p>\n\u003cp>“He’s always in the heart of the community,” Sway says with admiration. “Whether he’s giving away backpacks, or creating safe spaces for kids to come to and be creative at Dope Era, he consistently makes music.”\u003c/p>\n\u003ch2>Deeper Than Rap\u003c/h2>\n\u003cp>These days, \u003cem>Sway in the Morning\u003c/em> and the online platform \u003ca href=\"https://swaysuniverse.com/\" target=\"_blank\" rel=\"noopener\">Sway’s Universe\u003c/a> are more than just hip-hop. Recently, Sway interviewed UC Berkeley \u003ca href=\"https://swaysuniverse.com/mary-e-power-talks-global-warming-hurt-ecosystems-and-the-serengeti-rules/\" target=\"_blank\" rel=\"noopener\">ecologist Mary E. Power\u003c/a> on climate change, and Sway’s Universe correspondent Mike Muse often reports on political issues like the rise of white nationalism.\u003c/p>\n\u003cp>That sums up Sway’s view of his show—and hip-hop as a medium—as a place where people can hold dialogue, even if they disagree. (Of Kanye West’s transformation into an avowed Trump supporter, he diplomatically says, “I think he’s well within his rights to have the political views that he has.”)\u003c/p>\n\u003cp>“We wheel out a lot of folks to speak from different perspectives and different sides of the fence, and sometimes folks get upset,” he says. “And I say, nah, it’s good that we all hear each other’s voices.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Sway Fest takes place on Oct. 18, 9am-1pm, on the block outside of Pandora Headquarters (on Franklin Street, between 21st and 22nd Streets in Oakland), and streams on Sirius XM channel 45. \u003ca href=\"https://www.prnewswire.com/news-releases/siriusxm-and-pandora-to-launch-inaugural-sway-fest-2019-on-october-18-300931265.html\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Depending on your perspective, “Blurred Lines” was either the catchiest bop of Summer 2013, or a rage-inducing example of casual sexism and rape culture.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yyDUC1LUXSU\u003c/p>\n\u003cp>The lyrics of “Blurred Lines,” by Robin Thicke featuring Pharrell and T.I., were for many sexual assault survivors nothing less than triggering—thanks in particular to a refrain that included the words “\u003cem>I know you want it.\u003c/em>” The first sound Pharrell even made on the track was a cat-called “\u003cem>Hey girl, come here!\u003c/em>” done in a style familiar to every female human that has ever dealt with street harassment.\u003c/p>\n\u003cp>The accompanying video did not help matters. There were two versions released—one in which partially clothed models are objectified; another in which the same objectified women wear only flesh-colored panties. Both versions feature a scene in which Thicke’s penis size was described by, of all things, silver balloons.\u003c/p>\n\u003cp>Though an enormous hit at the time (“Blurred Lines” reached the top of the charts in countries around the globe, and is certified Diamond in the United States. having sold the equivalent of over 10 million copies), it has become somewhat of an albatross for everyone involved. Not just because of accusations of its misogyny, but also because in 2015, a jury found both Thicke and Pharrell guilty of copyright infringement due to the song’s resemblance to Marvin Gaye’s “\u003ca href=\"https://www.youtube.com/watch?v=Ayyy-03ITDg\" target=\"_blank\" rel=\"noopener noreferrer\">Got to Give it Up\u003c/a>.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Finally though, something positive has come out of “Blurred Lines.” In a new interview with \u003ca href=\"https://www.gq.com/story/pharrell-new-masculinity-cover-interview\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>GQ\u003c/em>\u003c/a>, Pharrell talks openly about how the song changed his perspective on sexism, what he calls “chauvinist culture” and toxic masculinity. In it, he says:\u003c/p>\n\u003cblockquote>\u003cp>“Blurred Lines” opened me up. I didn’t get it at first. Because there were older white women who, when that song came on, they would behave in some of the most surprising ways ever. And I would be like, ‘Wow.’ They would have me blushing. So when there started to be an issue with it, lyrically, I was, like, ‘What are you talking about? There are women who really like the song and connect to the energy that just gets you up.’ And ‘\u003cem>I know you want it\u003c/em>‘—women sing those kinds of lyrics all the time. So it’s like, ‘What’s rapey about that?’\u003c/p>\n\u003cp>And then I realized that there are men who use that same language when taking advantage of a woman, and it doesn’t matter that that’s not my behavior. Or the way I think about things. It just matters how it affects women. And I was like, ‘Got it. I get it. Cool.’ My mind opened up to what was actually being said in the song and how it could make someone feel. Even though it wasn’t the majority, it didn’t matter. I cared what they were feeling too. I realized that we live in a chauvinist culture in our country. Hadn’t realized that. Didn’t realize that some of my songs catered to that. So that blew my mind… I haven’t been the same since.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>While it’s frustrating for many that Pharrell was unable to recognize all of this before “Blurred Lines” was released, seeing an artist humbly acknowledge problems with their own musical output is incredibly refreshing. It also can’t help but broaden the horizons of anyone still defending the lyrical content of “Blurred Lines.” Perhaps now Robin Thicke—who once called the track a “\u003ca href=\"https://www.nme.com/news/music/robin-thicke-0-22-1231261\" target=\"_blank\" rel=\"noopener noreferrer\">feminist movement within itself\u003c/a>”—will get the memo.\u003c/p>\n\n",
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"excerpt": "Pharrell understands that \"Blurred Lines\" was an example of misogyny—and he isn't afraid to admit it.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Depending on your perspective, “Blurred Lines” was either the catchiest bop of Summer 2013, or a rage-inducing example of casual sexism and rape culture.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/yyDUC1LUXSU'\n title='//www.youtube.com/embed/yyDUC1LUXSU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The lyrics of “Blurred Lines,” by Robin Thicke featuring Pharrell and T.I., were for many sexual assault survivors nothing less than triggering—thanks in particular to a refrain that included the words “\u003cem>I know you want it.\u003c/em>” The first sound Pharrell even made on the track was a cat-called “\u003cem>Hey girl, come here!\u003c/em>” done in a style familiar to every female human that has ever dealt with street harassment.\u003c/p>\n\u003cp>The accompanying video did not help matters. There were two versions released—one in which partially clothed models are objectified; another in which the same objectified women wear only flesh-colored panties. Both versions feature a scene in which Thicke’s penis size was described by, of all things, silver balloons.\u003c/p>\n\u003cp>Though an enormous hit at the time (“Blurred Lines” reached the top of the charts in countries around the globe, and is certified Diamond in the United States. having sold the equivalent of over 10 million copies), it has become somewhat of an albatross for everyone involved. Not just because of accusations of its misogyny, but also because in 2015, a jury found both Thicke and Pharrell guilty of copyright infringement due to the song’s resemblance to Marvin Gaye’s “\u003ca href=\"https://www.youtube.com/watch?v=Ayyy-03ITDg\" target=\"_blank\" rel=\"noopener noreferrer\">Got to Give it Up\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Finally though, something positive has come out of “Blurred Lines.” In a new interview with \u003ca href=\"https://www.gq.com/story/pharrell-new-masculinity-cover-interview\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>GQ\u003c/em>\u003c/a>, Pharrell talks openly about how the song changed his perspective on sexism, what he calls “chauvinist culture” and toxic masculinity. In it, he says:\u003c/p>\n\u003cblockquote>\u003cp>“Blurred Lines” opened me up. I didn’t get it at first. Because there were older white women who, when that song came on, they would behave in some of the most surprising ways ever. And I would be like, ‘Wow.’ They would have me blushing. So when there started to be an issue with it, lyrically, I was, like, ‘What are you talking about? There are women who really like the song and connect to the energy that just gets you up.’ And ‘\u003cem>I know you want it\u003c/em>‘—women sing those kinds of lyrics all the time. So it’s like, ‘What’s rapey about that?’\u003c/p>\n\u003cp>And then I realized that there are men who use that same language when taking advantage of a woman, and it doesn’t matter that that’s not my behavior. Or the way I think about things. It just matters how it affects women. And I was like, ‘Got it. I get it. Cool.’ My mind opened up to what was actually being said in the song and how it could make someone feel. Even though it wasn’t the majority, it didn’t matter. I cared what they were feeling too. I realized that we live in a chauvinist culture in our country. Hadn’t realized that. Didn’t realize that some of my songs catered to that. So that blew my mind… I haven’t been the same since.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>While it’s frustrating for many that Pharrell was unable to recognize all of this before “Blurred Lines” was released, seeing an artist humbly acknowledge problems with their own musical output is incredibly refreshing. It also can’t help but broaden the horizons of anyone still defending the lyrical content of “Blurred Lines.” Perhaps now Robin Thicke—who once called the track a “\u003ca href=\"https://www.nme.com/news/music/robin-thicke-0-22-1231261\" target=\"_blank\" rel=\"noopener noreferrer\">feminist movement within itself\u003c/a>”—will get the memo.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Long before SOMA was home to tech companies like Airbnb and Zynga, the neighborhood was a thriving Filipino community, where artists flourished, public-service institutions served and war vets lived.\u003c/p>\n\u003cp>Which makes UNDSCVRD more than just a block party—it’s a historically significant one. The Filipino-focused night market in SOMA returns on Saturday Oct. 19, as friends, family and folks from all around San Francisco (and beyond) celebrate Filipino-American History Month.\u003c/p>\n\u003cp>The UNDSCVRD series of night markets, which has run each month (aside from those in the winter season) since 2017, is a “non-profit venture designed to jump-start economic activity and public awareness of \u003ca href=\"http://www.somapilipinas.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>SOMA Pilipinas\u003c/strong>\u003c/a>,” with an overall goal to revitalize the Filipino footprint in SOMA. \u003c/p>\n\u003cp>This month’s market, the last one of 2019, features artists from \u003ca href=\"https://www.apiculturalcenter.org/invocation\" target=\"_blank\" rel=\"noopener noreferrer\">A FRISCOPINX CYPHER\u003c/a>, as well as \u003ca href=\"http://www.djumami.com/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Umami\u003c/a> and political hip-hop artist \u003ca href=\"https://beatrockmusic.com/collections/bambu\" target=\"_blank\" rel=\"noopener noreferrer\">Bambu\u003c/a>. Food and vendors are on hand; and if you like hoops, there’s \u003ca href=\"https://www.undscvrdcourt.com/\">a basketball court too.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>—Pendarvis Harshaw\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Long before SOMA was home to tech companies like Airbnb and Zynga, the neighborhood was a thriving Filipino community, where artists flourished, public-service institutions served and war vets lived.\u003c/p>\n\u003cp>Which makes UNDSCVRD more than just a block party—it’s a historically significant one. The Filipino-focused night market in SOMA returns on Saturday Oct. 19, as friends, family and folks from all around San Francisco (and beyond) celebrate Filipino-American History Month.\u003c/p>\n\u003cp>The UNDSCVRD series of night markets, which has run each month (aside from those in the winter season) since 2017, is a “non-profit venture designed to jump-start economic activity and public awareness of \u003ca href=\"http://www.somapilipinas.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>SOMA Pilipinas\u003c/strong>\u003c/a>,” with an overall goal to revitalize the Filipino footprint in SOMA. \u003c/p>\n\u003cp>This month’s market, the last one of 2019, features artists from \u003ca href=\"https://www.apiculturalcenter.org/invocation\" target=\"_blank\" rel=\"noopener noreferrer\">A FRISCOPINX CYPHER\u003c/a>, as well as \u003ca href=\"http://www.djumami.com/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Umami\u003c/a> and political hip-hop artist \u003ca href=\"https://beatrockmusic.com/collections/bambu\" target=\"_blank\" rel=\"noopener noreferrer\">Bambu\u003c/a>. Food and vendors are on hand; and if you like hoops, there’s \u003ca href=\"https://www.undscvrdcourt.com/\">a basketball court too.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>—Pendarvis Harshaw\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Eddie Murphy Explores a Blaxploitation Classic: 'Dolemite is My Name'",
"headTitle": "Eddie Murphy Explores a Blaxploitation Classic: ‘Dolemite is My Name’ | KQED",
"content": "\u003cp>\u003cem>\u003cstrong>Note: This film is now in limited theatrical release before debuting on Netflix on Friday, October 25th. \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Eddie Murphy, who had name-above-title billing in a hit movie at 21, was one of the biggest stars in the world at 25, and whose imminent “comeback” has been a three-decade topic that a steady role in the animated \u003cem>Shrek\u003c/em> franchise and an Oscar nomination (for \u003cem>Dreamgirls\u003c/em>) couldn’t silence, is an odd choice to play Rudy Ray Moore.\u003c/p>\n\u003cp>Moore chased success as a singer, dancer, and stand-up before finding it in his mid-forties (in the early ’70s) in the persona of Dolemite, his pimp-styled character who delivered artfully filthy rhymes over a backbeat. In the decorous language of his 2008 \u003cem>New York Times \u003c/em>obituary, Moore’s “standup comedy, records and movies related earthy rhyming tales of a vivid gaggle of characters as they lurched from sexual escapade to sexual escapade in a boisterous tradition, born in Africa, that helped shape today’s hip-hop.”\u003c/p>\n\u003cp>Certainly the blue-chip cast that has shown up to support Murphy in the buoyant-but-superficial Netflix biopic \u003cem>Dolemite Is My Name\u003c/em> is its own tribute to Moore’s intersectional significance: Snoop Dogg and Chris Rock appear in two-scene roles, with Keegan-Michael Key, Titus Burgess, Craig Robinson, and Mike Epps in beefier parts as Moore’s various collaborators. Wesley Snipes’ effeminate characterization of D’urville Martin, who directed and played the villain in the 1975 blaxploitation classic \u003cem>Dolemite—\u003c/em>the film that solidified Moore’s cult… stardom?—may strike some viewers as homophobic, but it’s the first real performance that Snipes, who a generation ago appeared to be an actor whose versatility and magnetisim were without limit, has given in too many years.\u003c/p>\n\u003cp>None of these men have been cast for their resemblance to the people they’re playing. But Murphy, despite how much he seems to love filling out Dolemite’s flamboyant suits, doesn’t even try to look or sound like Moore. (His Bill Cosby impression in his 1988 concert film \u003cem>Raw\u003c/em> is a much closer act of mimicry than anything he does here.) He just throws himself headlong into this incurious depiction of Moore as an entertainer who didn’t much care whether his audience was laughing with him or at him, so long as they were laughing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gLZk03rXpVc\u003c/p>\n\u003cp>Neither the performance nor the movie surrounding it attempts the sort of sober psychological investigation that Will Smith brought to his performance as Muhammad Ali, for example. Murphy and director Craig Brewer (who are working together again on a \u003cem>Coming to America\u003c/em> sequel due next year) have opted for a feel-good approach, letting Scott Bomar’s pastiche-funk score and the warm camaraderie among the cast—and those wonderful suits—propel their tale of underdog triumph. What emotional depth it has comes mostly from Da’Vine Joy Randolph’s commanding turn as Lady Reed, whom Moore recruits to be his onstage comic foil after watching her deck her philandering husband at a nightclub where he’s performing. A scene where she thanks him for talking her into trying showbiz because she’s never seen anyone who looks like her on screen before feels anachronistic, but it’s moving all the same.\u003c/p>\n\u003cp>After a while, it becomes apparent that this is less a character study than an Origins of a Turkey movie in the tradition of the recent \u003cem>The Disaster Artist\u003c/em> or 1994’s \u003cem>Ed Wood. \u003c/em>Its screenplay, come to that, is by the \u003cem>Ed Wood\u003c/em> duo of Scott Alexander and Larry Karaszewski, who that same decade gave us \u003cem>The People Vs. Larry Flynt \u003c/em>and \u003cem>Man on the Moon\u003c/em> (with A-lister Jim Carrey as cult comic Andy Kaufman). So clearly these writers are interested in figures whose work challenges notions of taste and propriety. But \u003cem>Dolemite Is My Name,\u003c/em> for all its potent entertainment value, never musters the same curiosity about its subject that those ’90s movies did.\u003c/p>\n\u003cp>Instead,\u003cem> Dolemite Is My Name\u003c/em> compresses the events of five years or so into a breezy calendar-flipping arc, starting with Moore’s triumph as a DIY peddler of dirty comedy records and climaxing with his success as a DIY film producer and star. The eureka moment wherein he decides he belongs in the pictures comes when he and his pals go—on the recommendation of a glowing newspaper review!—to see Billy Wilder’s 1974 version of \u003cem>The Front Page.\u003c/em> While the movie’s overwhelmingly white audience howls, Moore and his friends are stone-faced. Moore’s verdict is harsh but two-thirds indisputable: “That movie had no funny, no titties, and no Kung Fu!”\u003c/p>\n\u003cp>Had Wilder had the benefit of such insight, \u003cem>Double Indemnity\u003c/em> and \u003cem>Some Like It Hot\u003c/em> might have been very different films. But Murphy-as-Moore’s other note—that \u003cem>The Front Page\u003c/em> had no performers of color—sticks, even if the notion that “people like us” (in Moore’s words) can’t appreciate the sort of mordant comedy Wilder was into is potentially problematic. Brewer, who directed \u003cem>Hustle and Flow\u003c/em> and \u003cem>Black Snake Moan,\u003c/em> is undeterred by “potentially problematic,” as is Murphy.\u003c/p>\n\u003cp>Obviously a long-unsated appetite among black audiences to see themselves represented in mass entertainment was key to the success of the blaxploitation genre, but that alone cannot account for the specific popularity of \u003cem>Dolemite, \u003c/em>a hilariously low-rent production that made earlier penny-pinching blaxploitation hits like \u003cem>Coffy\u003c/em> or \u003cem>Black Caesar\u003c/em> look lavish by comparison. It’s full of catatonic line readings, boom mics dipping into frame, and halfhearted karate kicks from a winded star who doesn’t look fit enough to take on a flight of stairs. When my friends and I watched \u003cem>Dolemite\u003c/em> repeatedly in high school in the 90s, we would argue whether its irresistible awfulness was intentional or not.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DebCN7U65vY\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>For what it’s worth, \u003cem>Dolemite Is My Name \u003c/em>splits the difference, suggesting that \u003cem>Dolemite’\u003c/em>s room-destroying sex scene was designed to be funny, but that the hilarity of its fights stemmed from genuine incompetence. In that spirit, we witness the filming of the infamous throw-down that ensues when three white FBI agents confront Dolemite in his driveway and try to take him into custody. Is it a deliberate in-joke that Martin—the director who watches his hopeless performers fumble their way through their fight choreography and concludes that a second take would be futile—is played by Snipes, the one genuine martial artist in the movie? A guy whose overindulgence in action flicks arguably ruined his career as a serious actor? Probably. In any case, it’s a fun thing to argue about with your friends.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Breezy+Look+At+The+Making+Of+A+Blaxploitation+Classic%3A+%27Dolemite+Is+My+Name%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Note: This film is now in limited theatrical release before debuting on Netflix on Friday, October 25th. \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Eddie Murphy, who had name-above-title billing in a hit movie at 21, was one of the biggest stars in the world at 25, and whose imminent “comeback” has been a three-decade topic that a steady role in the animated \u003cem>Shrek\u003c/em> franchise and an Oscar nomination (for \u003cem>Dreamgirls\u003c/em>) couldn’t silence, is an odd choice to play Rudy Ray Moore.\u003c/p>\n\u003cp>Moore chased success as a singer, dancer, and stand-up before finding it in his mid-forties (in the early ’70s) in the persona of Dolemite, his pimp-styled character who delivered artfully filthy rhymes over a backbeat. In the decorous language of his 2008 \u003cem>New York Times \u003c/em>obituary, Moore’s “standup comedy, records and movies related earthy rhyming tales of a vivid gaggle of characters as they lurched from sexual escapade to sexual escapade in a boisterous tradition, born in Africa, that helped shape today’s hip-hop.”\u003c/p>\n\u003cp>Certainly the blue-chip cast that has shown up to support Murphy in the buoyant-but-superficial Netflix biopic \u003cem>Dolemite Is My Name\u003c/em> is its own tribute to Moore’s intersectional significance: Snoop Dogg and Chris Rock appear in two-scene roles, with Keegan-Michael Key, Titus Burgess, Craig Robinson, and Mike Epps in beefier parts as Moore’s various collaborators. Wesley Snipes’ effeminate characterization of D’urville Martin, who directed and played the villain in the 1975 blaxploitation classic \u003cem>Dolemite—\u003c/em>the film that solidified Moore’s cult… stardom?—may strike some viewers as homophobic, but it’s the first real performance that Snipes, who a generation ago appeared to be an actor whose versatility and magnetisim were without limit, has given in too many years.\u003c/p>\n\u003cp>None of these men have been cast for their resemblance to the people they’re playing. But Murphy, despite how much he seems to love filling out Dolemite’s flamboyant suits, doesn’t even try to look or sound like Moore. (His Bill Cosby impression in his 1988 concert film \u003cem>Raw\u003c/em> is a much closer act of mimicry than anything he does here.) He just throws himself headlong into this incurious depiction of Moore as an entertainer who didn’t much care whether his audience was laughing with him or at him, so long as they were laughing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For what it’s worth, \u003cem>Dolemite Is My Name \u003c/em>splits the difference, suggesting that \u003cem>Dolemite’\u003c/em>s room-destroying sex scene was designed to be funny, but that the hilarity of its fights stemmed from genuine incompetence. In that spirit, we witness the filming of the infamous throw-down that ensues when three white FBI agents confront Dolemite in his driveway and try to take him into custody. Is it a deliberate in-joke that Martin—the director who watches his hopeless performers fumble their way through their fight choreography and concludes that a second take would be futile—is played by Snipes, the one genuine martial artist in the movie? A guy whose overindulgence in action flicks arguably ruined his career as a serious actor? Probably. In any case, it’s a fun thing to argue about with your friends.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Breezy+Look+At+The+Making+Of+A+Blaxploitation+Classic%3A+%27Dolemite+Is+My+Name%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Rightnowish: The Alphabet Rockers Bring 'The Love' to a New Generation",
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"content": "\u003cp>\u003cem>Note: This episode originally aired May 5, 2019\u003c/em>\u003c/p>\n\u003cp>Last year, the \u003ca href=\"http://alphabetrockers.com\">Alphabet Rockers\u003c/a>, a musical group comprised of four elementary school-aged folks and two adult mentors, were \u003ca href=\"https://www.kqed.org/arts/13816003/five-bay-area-artists-receive-nominations-for-2018-grammys\" target=\"_blank\" rel=\"noopener\">nominated for a Grammy\u003c/a> for their album, \u003cem>Rise, Shine, #Woke\u003c/em>. That project focused largely on identity, with \u003ca href=\"https://www.kqed.org/arts/12704362/alphabet-rockers-now-making-childrens-songs-about-social-issues\" target=\"_blank\" rel=\"noopener\">a specific look at racial identity\u003c/a>.\u003c/p>\n\u003cp>This year, the group is back with more music that explores tough topics. Their forthcoming album, \u003cem>The Love\u003c/em>, is set for release later this summer, with a focus on gender identity.\u003c/p>\n\u003cp>In talking to the next generation of Bay Area superstars—Tommy Sheppard III, Maya Fleming, Lillian Ellis and Kali de Jesus—it’s evident this is something that young folks want to talk about. With the guidance of Tommy Sheppard, Jr. and Kaitlin McGaw, the group is making music that’ll help all a wider audience of people further address topics that some might have a hard time navigating.\u003c/p>\n\u003cp>I caught up with the Alphabet Rockers crew at the \u003ca href=\"https://ww2.kqed.org/spark/destiny-arts-center/\" target=\"_blank\" rel=\"noopener\">Destiny Arts Center\u003c/a> in North Oakland, where they often rehearse. We discussed what it means to be Grammy-nominated, the podcast they’ll be launching soon, as well as songs and themes on \u003cem>The Love\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To hear all about it, click the link above.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Note: This episode originally aired May 5, 2019\u003c/em>\u003c/p>\n\u003cp>Last year, the \u003ca href=\"http://alphabetrockers.com\">Alphabet Rockers\u003c/a>, a musical group comprised of four elementary school-aged folks and two adult mentors, were \u003ca href=\"https://www.kqed.org/arts/13816003/five-bay-area-artists-receive-nominations-for-2018-grammys\" target=\"_blank\" rel=\"noopener\">nominated for a Grammy\u003c/a> for their album, \u003cem>Rise, Shine, #Woke\u003c/em>. That project focused largely on identity, with \u003ca href=\"https://www.kqed.org/arts/12704362/alphabet-rockers-now-making-childrens-songs-about-social-issues\" target=\"_blank\" rel=\"noopener\">a specific look at racial identity\u003c/a>.\u003c/p>\n\u003cp>This year, the group is back with more music that explores tough topics. Their forthcoming album, \u003cem>The Love\u003c/em>, is set for release later this summer, with a focus on gender identity.\u003c/p>\n\u003cp>In talking to the next generation of Bay Area superstars—Tommy Sheppard III, Maya Fleming, Lillian Ellis and Kali de Jesus—it’s evident this is something that young folks want to talk about. With the guidance of Tommy Sheppard, Jr. and Kaitlin McGaw, the group is making music that’ll help all a wider audience of people further address topics that some might have a hard time navigating.\u003c/p>\n\u003cp>I caught up with the Alphabet Rockers crew at the \u003ca href=\"https://ww2.kqed.org/spark/destiny-arts-center/\" target=\"_blank\" rel=\"noopener\">Destiny Arts Center\u003c/a> in North Oakland, where they often rehearse. We discussed what it means to be Grammy-nominated, the podcast they’ll be launching soon, as well as songs and themes on \u003cem>The Love\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'It Made Me Appreciate Life': Keak Da Sneak Celebrates Prison Release at Rolling Loud",
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"content": "\u003cp>Just days after \u003ca href=\"https://www.instagram.com/officialkeakdasneak\" target=\"_blank\" rel=\"noopener\">Keak Da Sneak\u003c/a> was released from California state prison, he took the stage in Oakland in front of 40,000 cheering fans at the rap festival Rolling Loud, performing his Bay Area anthem “Super Hyphy” during headliner G-Eazy’s set.\u003c/p>\n\u003cp>“I don’t think no drug can amount to that feeling of being on stage and thousands of people wanting to see you and happy that you’re up there. It’s a feeling that I try to describe in words, but it’s just like—\u003cem>wow\u003c/em>,” says the rapper, whose real name is Charles Williams.\u003c/p>\n\u003cp>It marked a triumphant comeback from a \u003ca href=\"https://www.kqed.org/arts/13849409/keak-da-sneak-heads-to-prison-no-compassion-for-disabilities-he-says\" target=\"_blank\" rel=\"noopener\">situation that seemed dire six months ago\u003c/a>, when Williams was sentenced to 16 months in state custody despite requiring ongoing medical care for various physical disabilities. After \u003ca href=\"https://www.kqed.org/arts/13854812/keak-da-sneak-begins-prison-sentence-after-lengthy-legal-battle\" target=\"_blank\" rel=\"noopener\">turning himself in\u003c/a> on April 11, he was released on probation on Sept. 24 thanks to \u003ca href=\"https://www.kqed.org/news/11081078/gov-brown-sees-prop-57-as-key-to-ending-court-prison-oversight\" target=\"_blank\" rel=\"noopener\">Prop 57\u003c/a>, a recent California law that allowed him to earn 66.6% credit on his sentence as a minimum security inmate.\u003c/p>\n\u003cp>https://www.instagram.com/p/B2zmtZrHtQs/\u003c/p>\n\u003cp>Williams’ two-year legal battle stemmed from a 2017 charge of firearm possession as a convicted felon. As he told KQED in January, he carried a gun for protection after surviving a shooting. A police officer in Amador County discovered the firearm after searching his car in a situation Williams described as “racial profiling at an all-time high.” During the course of the trial, he survived yet another shooting that left him in a wheelchair and in need of medical care and physical therapy multiple times a week. His sentencing was delayed multiple times to give him time to complete medical procedures.\u003c/p>\n\u003cp>After \u003ca href=\"https://www.kqed.org/arts/13849409/keak-da-sneak-heads-to-prison-no-compassion-for-disabilities-he-says\" target=\"_blank\" rel=\"noopener\">KQED\u003c/a> broke the story of his sentencing, high-profile music publications like \u003cem>XXL\u003c/em>, HipHopDX and Okayplayer as well as various cable news channels across Northern California covered Williams’ plight. Williams credits the media attention and the \u003ca href=\"https://www.change.org/p/alternative-sentencing-instead-of-prison-for-disabled-rapper-keak-da-sneak\" target=\"_blank\" rel=\"noopener\">Change.org petition\u003c/a> started by his wife, Dee Bowens—which amassed over 70,200 signatures—with pressuring state prison officials to send him to a state facility with quality medical care.\u003c/p>\n\u003cp>[pullquote align='right' citation='Keak Da Sneak']“God works in mysterious ways. I just know I was supposed to see that, and how fast your freedom can be taken from you, you know? It made me appreciate life and appreciate my freedom.”[/pullquote]\u003c/p>\n\u003cp>“Big shout out to y’all, I want to thank KQED,” he says. “I want to thank the people who signed my petition on Change.org. If it wasn’t for y’all, I don’t think it would have went as smooth for me, you know? I don’t know if they would have sent me where they sent me, because I made a big deal of the level of care I needed, so they made sure that was there for me.”\u003c/p>\n\u003cp>After turning himself in, Williams served his term at the California Health Care Facility (CHCF) in Stockton, which has round-the-clock medical care. Before he knew where he was headed, he feared the California Department of Corrections and Rehabilitation would send him to a facility that couldn’t meet his medical needs. Indeed, disability rights advocates say that quality of medical care and ADA accessibility varies greatly from facility to facility, even within the same state. The office of the California Inspector General rated medical care at CHCF “inadequate” in\u003ca href=\"https://www.oig.ca.gov/wp-content/uploads/2019/05/CHCF_Medical_Inspection_Report_Cycle_5.pdf\" target=\"_blank\" rel=\"noopener\"> an April 2019 report\u003c/a>.\u003c/p>\n\u003cp>“For the most part, man, it wasn’t as bad as I thought it was gonna be,” Williams says. “But for the other part—that jail shit ain’t where it’s at. There’s people in there that are never coming home, they don’t have a release date at all. So, God works in mysterious ways. I just know I was supposed to see that, and how fast your freedom can be taken from you, you know? It made me appreciate life and appreciate my freedom.” [aside postid='arts_13849409']\u003c/p>\n\u003cp>Still, Williams says that not all of his medical needs were met. For instance, after spending a month on a waiting list, he says he was only able to attend an hour of physical therapy once a week rather than several times a week—which slowed down his progress on relearning to stand up and eventually walk again.\u003c/p>\n\u003cp>“I don’t need someone to get me in and get me out of there,” he says. “I need someone to work with me on my therapy. In there, it was overcrowded with inmates.”\u003c/p>\n\u003cp>Nonetheless, Williams’ mood was optimistic during our interview. He’s now back home with his wife and kids, and his mom came over to treat him to a home cooked meal of oxtails, collard greens, macaroni and cheese and cornbread. “I ate three plates of it, too,” he says.\u003c/p>\n\u003cp>After hanging out with family and getting a pedicure, he hit the headlining stage at Rolling Loud on Sept. 28. This week, he’s busy reestablishing his medical care routine with the help of his doctor, and is already back in the studio working on two new mixtapes and searching for new talent for his label, AllnFallnDoe.\u003c/p>\n\u003cp>“I’m still blessed with opportunities,” he says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just days after \u003ca href=\"https://www.instagram.com/officialkeakdasneak\" target=\"_blank\" rel=\"noopener\">Keak Da Sneak\u003c/a> was released from California state prison, he took the stage in Oakland in front of 40,000 cheering fans at the rap festival Rolling Loud, performing his Bay Area anthem “Super Hyphy” during headliner G-Eazy’s set.\u003c/p>\n\u003cp>“I don’t think no drug can amount to that feeling of being on stage and thousands of people wanting to see you and happy that you’re up there. It’s a feeling that I try to describe in words, but it’s just like—\u003cem>wow\u003c/em>,” says the rapper, whose real name is Charles Williams.\u003c/p>\n\u003cp>It marked a triumphant comeback from a \u003ca href=\"https://www.kqed.org/arts/13849409/keak-da-sneak-heads-to-prison-no-compassion-for-disabilities-he-says\" target=\"_blank\" rel=\"noopener\">situation that seemed dire six months ago\u003c/a>, when Williams was sentenced to 16 months in state custody despite requiring ongoing medical care for various physical disabilities. After \u003ca href=\"https://www.kqed.org/arts/13854812/keak-da-sneak-begins-prison-sentence-after-lengthy-legal-battle\" target=\"_blank\" rel=\"noopener\">turning himself in\u003c/a> on April 11, he was released on probation on Sept. 24 thanks to \u003ca href=\"https://www.kqed.org/news/11081078/gov-brown-sees-prop-57-as-key-to-ending-court-prison-oversight\" target=\"_blank\" rel=\"noopener\">Prop 57\u003c/a>, a recent California law that allowed him to earn 66.6% credit on his sentence as a minimum security inmate.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Williams’ two-year legal battle stemmed from a 2017 charge of firearm possession as a convicted felon. As he told KQED in January, he carried a gun for protection after surviving a shooting. A police officer in Amador County discovered the firearm after searching his car in a situation Williams described as “racial profiling at an all-time high.” During the course of the trial, he survived yet another shooting that left him in a wheelchair and in need of medical care and physical therapy multiple times a week. His sentencing was delayed multiple times to give him time to complete medical procedures.\u003c/p>\n\u003cp>After \u003ca href=\"https://www.kqed.org/arts/13849409/keak-da-sneak-heads-to-prison-no-compassion-for-disabilities-he-says\" target=\"_blank\" rel=\"noopener\">KQED\u003c/a> broke the story of his sentencing, high-profile music publications like \u003cem>XXL\u003c/em>, HipHopDX and Okayplayer as well as various cable news channels across Northern California covered Williams’ plight. Williams credits the media attention and the \u003ca href=\"https://www.change.org/p/alternative-sentencing-instead-of-prison-for-disabled-rapper-keak-da-sneak\" target=\"_blank\" rel=\"noopener\">Change.org petition\u003c/a> started by his wife, Dee Bowens—which amassed over 70,200 signatures—with pressuring state prison officials to send him to a state facility with quality medical care.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Big shout out to y’all, I want to thank KQED,” he says. “I want to thank the people who signed my petition on Change.org. If it wasn’t for y’all, I don’t think it would have went as smooth for me, you know? I don’t know if they would have sent me where they sent me, because I made a big deal of the level of care I needed, so they made sure that was there for me.”\u003c/p>\n\u003cp>After turning himself in, Williams served his term at the California Health Care Facility (CHCF) in Stockton, which has round-the-clock medical care. Before he knew where he was headed, he feared the California Department of Corrections and Rehabilitation would send him to a facility that couldn’t meet his medical needs. Indeed, disability rights advocates say that quality of medical care and ADA accessibility varies greatly from facility to facility, even within the same state. The office of the California Inspector General rated medical care at CHCF “inadequate” in\u003ca href=\"https://www.oig.ca.gov/wp-content/uploads/2019/05/CHCF_Medical_Inspection_Report_Cycle_5.pdf\" target=\"_blank\" rel=\"noopener\"> an April 2019 report\u003c/a>.\u003c/p>\n\u003cp>“For the most part, man, it wasn’t as bad as I thought it was gonna be,” Williams says. “But for the other part—that jail shit ain’t where it’s at. There’s people in there that are never coming home, they don’t have a release date at all. So, God works in mysterious ways. I just know I was supposed to see that, and how fast your freedom can be taken from you, you know? It made me appreciate life and appreciate my freedom.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Still, Williams says that not all of his medical needs were met. For instance, after spending a month on a waiting list, he says he was only able to attend an hour of physical therapy once a week rather than several times a week—which slowed down his progress on relearning to stand up and eventually walk again.\u003c/p>\n\u003cp>“I don’t need someone to get me in and get me out of there,” he says. “I need someone to work with me on my therapy. In there, it was overcrowded with inmates.”\u003c/p>\n\u003cp>Nonetheless, Williams’ mood was optimistic during our interview. He’s now back home with his wife and kids, and his mom came over to treat him to a home cooked meal of oxtails, collard greens, macaroni and cheese and cornbread. “I ate three plates of it, too,” he says.\u003c/p>\n\u003cp>After hanging out with family and getting a pedicure, he hit the headlining stage at Rolling Loud on Sept. 28. This week, he’s busy reestablishing his medical care routine with the help of his doctor, and is already back in the studio working on two new mixtapes and searching for new talent for his label, AllnFallnDoe.\u003c/p>\n\u003cp>“I’m still blessed with opportunities,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When \u003ca href=\"http://www.rollingloud.com/lineup\" target=\"_blank\" rel=\"noopener\">Rolling Loud\u003c/a> founders Tariq Cherif and Matt Zingler were looking to expand their Miami rap festival to other cities across the country, they were instantly drawn to the Bay Area.\u003c/p>\n\u003cp>“T\u003cspan style=\"font-weight: 400\">he Bay Area is really one of the most influential areas of the country when it comes to the history of hip-hop—more specifically when it comes to the independent hip-hop movement,” Cherif says in a recent phone interview. “E-40 and Mac Dre were pioneers of getting out there and doing it yourself.”\u003c/span>\u003c/p>\n\u003cp>In 2017, Rolling Loud made its Bay Area debut at Shoreline Ampitheater in Mountain View, drawing thousands of hip-hop fans. A triumphant comeback at the Oakland Coliseum in 2018 featured over a dozen local artists—including E-40, Kamaiyah, P-Lo and Mozzy—in a lineup stacked with major-label stars like Travis Scott, Young Thug and Pusha T.\u003c/p>\n\u003cp>This year, Rolling Loud is back at the Coliseum Sept. 28–29 with Oakland’s own G-Eazy headlining alongside Migos, Lil Uzi Vert and Future. His placement at the top tier of the rap pantheon is a huge deal for the Bay Area, which hadn’t seen a hip-hop artist hit that level of mainstream success since E-40 and Too $hort were all over the charts 10 years ago.\u003c/p>\n\u003cp>In addition to these headliners, Rolling Loud’s savvy curation juxtaposes party rockers with street poets, emo rap with hyphy and Gen Z upstarts with veterans. Highlights from the bill include Houston twerk queen Megan Thee Stallion, Atlanta gangster-turned-activist 21 Savage and Maryland nu-metal rapper Rico Nasty, as well as local favorites like Kamaiyah, Berner and Philthy Rich. With three stages, art installations, a skate park and a basketball court, the festival offers a lot to look forward to, including the five must-see Bay Area artists you’ll find below.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/x5c2iRHlAHA\u003c/p>\n\u003cp>\u003cstrong>Saweetie\u003c/strong>\u003c/p>\n\u003cp>Long underestimated by the rap scene’s boys’ club, \u003ca href=\"https://soundcloud.com/saweetie\" target=\"_blank\" rel=\"noopener\">Saweetie\u003c/a> made the Bay Area’s 2019 song of the summer with “My Type,” a Petey Pablo-sampling dance floor anthem with X-rated lyrics. Things have only taken off from there for the Hayward- and Sacramento-raised rapper, with a debut clothing line that premiered at New York Fashion Week and collaborations with G-Eazy and City Girls. With tracks like “Icy Grl” and “Emotional,” Saweetie raps for fun-loving women who enjoy the finer things and aren’t afraid to express their sexuality.\u003c/p>\n\u003cp>https://youtu.be/I7-47-xgf0w\u003c/p>\n\u003cp>\u003cstrong>Rexx Life Raj\u003c/strong>\u003c/p>\n\u003cp>Berkeley’s \u003ca href=\"https://soundcloud.com/rexxliferaj\" target=\"_blank\" rel=\"noopener\">Rexx Life Raj\u003c/a> is a streetwise wordsmith with the voice of a gospel singer and the political awareness of a Black Panther. His low-key, contemplative rap has made him one of the freshest voices to come out of the Bay Area scene in recent years. After receiving rave reviews for his \u003cem>Father Figure 2: Flourish\u003c/em> (which made KQED Arts’ \u003ca href=\"https://www.kqed.org/arts/13817414/the-10-best-bay-area-albums-of-2017-rexx-life-raj-father-figure-2-flourish\" target=\"_blank\" rel=\"noopener\">top albums list in 2017\u003c/a>), he’s toured the country and worked with some promising up-and-coming producers, including Rico Nasty’s main collaborator Kenny Beats. Raj’s thoughtful lyrics will resonate with strivers trying to better themselves and level up their mindset.\u003c/p>\n\u003cp>https://youtu.be/FJVxiyiVflg\u003c/p>\n\u003cp>\u003cstrong>Nef the Pharaoh\u003c/strong>\u003c/p>\n\u003cp>Signed to E-40’s Sick Wid It Records, \u003ca href=\"https://soundcloud.com/nefidelaphante\" target=\"_blank\" rel=\"noopener\">Nef the Pharaoh\u003c/a> learned how to chart his path as an independent Bay Area artist from the best. While he made a splash with boastful tracks “Big Tymin” and “Bling Blaow,” beneath the surface of his discography are \u003ca href=\"https://www.kqed.org/arts/13838218/on-the-ranch-with-nef-the-pharaoh\" target=\"_blank\" rel=\"noopener\">thoughtful meditations\u003c/a> on loved ones lost too soon and the injustices of the criminal justice system. Regardless of his subject matter, Nef the Pharaoh is always brash and brutally honest, with clever lyrics that harness the hardness of the Bay Area’s mob music tradition.\u003c/p>\n\u003cp>https://youtu.be/EKZV3-wtmx8\u003c/p>\n\u003cp>\u003cstrong>Lil Kayla\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://soundcloud.com/thereallilkayla\" target=\"_blank\" rel=\"noopener\">Lil Kayla\u003c/a> has been too underrated for too long. In her two-minute dispatches from San Francisco’s Sunnydale projects, she bites down like a pit bull, not letting up until she nails the target of her disdain with bars worthy of a rap battle. With tracks like 2015’s “Come Getcho” and this year’s “Like Sleeze,” Kayla demolishes men’s egos and bursts the bubbles of girls who buy into their empty promises. A student of Remy Ma and Lil Kim, Lil Kayla’s street-smart verses come with a side of cynical humor.\u003c/p>\n\u003cp>https://youtu.be/E82WG2Xrc3w\u003c/p>\n\u003cp>\u003cstrong>Derek King\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Though Antioch singer \u003ca href=\"https://soundcloud.com/derekkingonline\" target=\"_blank\" rel=\"noopener\">Derek King\u003c/a> was only four years old when Sisqo released his infamous “Thong Song,” King’s “Tetris” reworks its memorable beat (cue violins) into an R&Bass jam you didn’t know you needed on your playlist. Over the last few years, the Antioch artist perfected his club-friendly sound, collaborating with Sage the Gemini and Kirko Bangz when he was still a teen. Recently, King made a mark with solo singles like “Play,” which gives a P. Diddy sample a sleek, strip club-friendly makeover, and “Cappuccino,” which harks back to the dance floor-ready R&B of Usher and B2K.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When \u003ca href=\"http://www.rollingloud.com/lineup\" target=\"_blank\" rel=\"noopener\">Rolling Loud\u003c/a> founders Tariq Cherif and Matt Zingler were looking to expand their Miami rap festival to other cities across the country, they were instantly drawn to the Bay Area.\u003c/p>\n\u003cp>“T\u003cspan style=\"font-weight: 400\">he Bay Area is really one of the most influential areas of the country when it comes to the history of hip-hop—more specifically when it comes to the independent hip-hop movement,” Cherif says in a recent phone interview. “E-40 and Mac Dre were pioneers of getting out there and doing it yourself.”\u003c/span>\u003c/p>\n\u003cp>In 2017, Rolling Loud made its Bay Area debut at Shoreline Ampitheater in Mountain View, drawing thousands of hip-hop fans. A triumphant comeback at the Oakland Coliseum in 2018 featured over a dozen local artists—including E-40, Kamaiyah, P-Lo and Mozzy—in a lineup stacked with major-label stars like Travis Scott, Young Thug and Pusha T.\u003c/p>\n\u003cp>This year, Rolling Loud is back at the Coliseum Sept. 28–29 with Oakland’s own G-Eazy headlining alongside Migos, Lil Uzi Vert and Future. His placement at the top tier of the rap pantheon is a huge deal for the Bay Area, which hadn’t seen a hip-hop artist hit that level of mainstream success since E-40 and Too $hort were all over the charts 10 years ago.\u003c/p>\n\u003cp>In addition to these headliners, Rolling Loud’s savvy curation juxtaposes party rockers with street poets, emo rap with hyphy and Gen Z upstarts with veterans. Highlights from the bill include Houston twerk queen Megan Thee Stallion, Atlanta gangster-turned-activist 21 Savage and Maryland nu-metal rapper Rico Nasty, as well as local favorites like Kamaiyah, Berner and Philthy Rich. With three stages, art installations, a skate park and a basketball court, the festival offers a lot to look forward to, including the five must-see Bay Area artists you’ll find below.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/x5c2iRHlAHA'\n title='//www.youtube.com/embed/x5c2iRHlAHA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Saweetie\u003c/strong>\u003c/p>\n\u003cp>Long underestimated by the rap scene’s boys’ club, \u003ca href=\"https://soundcloud.com/saweetie\" target=\"_blank\" rel=\"noopener\">Saweetie\u003c/a> made the Bay Area’s 2019 song of the summer with “My Type,” a Petey Pablo-sampling dance floor anthem with X-rated lyrics. Things have only taken off from there for the Hayward- and Sacramento-raised rapper, with a debut clothing line that premiered at New York Fashion Week and collaborations with G-Eazy and City Girls. With tracks like “Icy Grl” and “Emotional,” Saweetie raps for fun-loving women who enjoy the finer things and aren’t afraid to express their sexuality.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/I7-47-xgf0w'\n title='//www.youtube.com/embed/I7-47-xgf0w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Rexx Life Raj\u003c/strong>\u003c/p>\n\u003cp>Berkeley’s \u003ca href=\"https://soundcloud.com/rexxliferaj\" target=\"_blank\" rel=\"noopener\">Rexx Life Raj\u003c/a> is a streetwise wordsmith with the voice of a gospel singer and the political awareness of a Black Panther. His low-key, contemplative rap has made him one of the freshest voices to come out of the Bay Area scene in recent years. After receiving rave reviews for his \u003cem>Father Figure 2: Flourish\u003c/em> (which made KQED Arts’ \u003ca href=\"https://www.kqed.org/arts/13817414/the-10-best-bay-area-albums-of-2017-rexx-life-raj-father-figure-2-flourish\" target=\"_blank\" rel=\"noopener\">top albums list in 2017\u003c/a>), he’s toured the country and worked with some promising up-and-coming producers, including Rico Nasty’s main collaborator Kenny Beats. Raj’s thoughtful lyrics will resonate with strivers trying to better themselves and level up their mindset.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FJVxiyiVflg'\n title='//www.youtube.com/embed/FJVxiyiVflg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Nef the Pharaoh\u003c/strong>\u003c/p>\n\u003cp>Signed to E-40’s Sick Wid It Records, \u003ca href=\"https://soundcloud.com/nefidelaphante\" target=\"_blank\" rel=\"noopener\">Nef the Pharaoh\u003c/a> learned how to chart his path as an independent Bay Area artist from the best. While he made a splash with boastful tracks “Big Tymin” and “Bling Blaow,” beneath the surface of his discography are \u003ca href=\"https://www.kqed.org/arts/13838218/on-the-ranch-with-nef-the-pharaoh\" target=\"_blank\" rel=\"noopener\">thoughtful meditations\u003c/a> on loved ones lost too soon and the injustices of the criminal justice system. Regardless of his subject matter, Nef the Pharaoh is always brash and brutally honest, with clever lyrics that harness the hardness of the Bay Area’s mob music tradition.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/EKZV3-wtmx8'\n title='//www.youtube.com/embed/EKZV3-wtmx8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Lil Kayla\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://soundcloud.com/thereallilkayla\" target=\"_blank\" rel=\"noopener\">Lil Kayla\u003c/a> has been too underrated for too long. In her two-minute dispatches from San Francisco’s Sunnydale projects, she bites down like a pit bull, not letting up until she nails the target of her disdain with bars worthy of a rap battle. With tracks like 2015’s “Come Getcho” and this year’s “Like Sleeze,” Kayla demolishes men’s egos and bursts the bubbles of girls who buy into their empty promises. A student of Remy Ma and Lil Kim, Lil Kayla’s street-smart verses come with a side of cynical humor.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/E82WG2Xrc3w'\n title='//www.youtube.com/embed/E82WG2Xrc3w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Derek King\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Though Antioch singer \u003ca href=\"https://soundcloud.com/derekkingonline\" target=\"_blank\" rel=\"noopener\">Derek King\u003c/a> was only four years old when Sisqo released his infamous “Thong Song,” King’s “Tetris” reworks its memorable beat (cue violins) into an R&Bass jam you didn’t know you needed on your playlist. Over the last few years, the Antioch artist perfected his club-friendly sound, collaborating with Sage the Gemini and Kirko Bangz when he was still a teen. Recently, King made a mark with solo singles like “Play,” which gives a P. Diddy sample a sleek, strip club-friendly makeover, and “Cappuccino,” which harks back to the dance floor-ready R&B of Usher and B2K.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "From 'Walk This Way' to Rico Nasty, Rap-Rock Collaborations Reveal Power Shifts in Music",
"headTitle": "From ‘Walk This Way’ to Rico Nasty, Rap-Rock Collaborations Reveal Power Shifts in Music | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">In 1986, rap was still a fledgling genre largely thought of as a fleeting trend—even though multiple hip-hop singles had reached the Billboard charts and Sugar Hill Records enjoyed seven years of success. Yet the genre’s \u003c/span>\u003cspan style=\"font-weight: 400\">new, creative energy proved to be the saving grace of one of the biggest rock bands of all time: Aerosmith, who were all but washed by the mid ’80s, with drug issues threatening the future of the band. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When Rick Rubin approached Aerosmith’s manager about working with the buzzing rap trio Run-DMC, both sides had reservations. But the groups got into the studio and pushed out a reworked version of the band’s 11-year-old track, “Walk This Way,” in a single day. The song peaked at No. 4 on Billboard’s Hot 100, charting higher than the original, and propelled Run-DMC’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Raising Hell\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> to become the\u003ca href=\"https://www.washingtonpost.com/archive/lifestyle/1986/08/29/run-dmc-and-the-rap-flap/552172c5-eef3-48f3-b700-028ef4bcd28f/\" target=\"_blank\" rel=\"noopener noreferrer\"> first Platinum-selling hip-hop album\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>https://youtu.be/4B_UYYPb-Gk\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Six months later, Beastie Boys released \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Licensed to Ill\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, their rock-inspired debut album, also produced by Rick Rubin and Russell Simmons, that has since gone Diamond. (Beastie Boys had attempted to kick off the rap-rock trend two years earlier: in 1984, Def Jam withdrew their single “Rock Hard” because of an uncleared AC/DC sample.) Two months before \u003ca href=\"https://youtu.be/07Y0cy-nvAg\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Licensed to Ill\u003c/em>\u003c/a> came out, LL Cool J’s 1986 Rubin-produced song “\u003ca href=\"https://youtu.be/ZyswjkZJugI\" target=\"_blank\" rel=\"noopener noreferrer\">Rock the Bells\u003c/a>” also made Billboard’s Top 40. Def Jam was on top. [aside postid='arts_13866441']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Walk This Way” was a win-win for Aerosmith and Run-DMC. Run-DMC got the mainstream music industry cosign they needed to transcend the underground. And Aerosmith enjoyed sustained longevity and pop-culture relevance: they released their album \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Permanent Vacation\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> in 1987 (with three top-20 singles and over five million copies sold) and went on tour almost immediately. Executives and fans alike realized how powerful rap-rock was. Over the next 35 years, the two genres worked together to create career-defining material for multiple artists, and also created space for the genre-bending solo artists that are popular today. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the 1990s, rock artists inspired by hip-hop, like Korn, Kid Rock and Limp Bizkit, were on the rise. Korn’s lead vocalist, Jonathan Davis, was a fan of Ice Cube and the gritty sounds of N.W.A., which was evident in the music he helped create. In 1998, the band collaborated with Ice Cube on “Children of the Korn,” exchanging hardcore verses that spoke to Gen X and Y rebellion, advising parents to “Report to your local church / Report to your local police department / It’s going down.” But Davis always resented the “rap metal” label, calling it “corny” \u003c/span>\u003ca href=\"https://allhiphop.com/features/jonathan-davis-of-korn-is-hip-hop-v91zVz_ZakWXULXJsJaAAw/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">in a 2007 interview\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>https://youtu.be/kdQN-B8aodw\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The ’90s also birthed the rap girl/pop girl formula that was showcased on Melanie C (of Spice Girls) and Left Eye’s 1999 song, “\u003ca href=\"https://youtu.be/2nEzfa43VF8\" target=\"_blank\" rel=\"noopener noreferrer\">Never Be The Same Again\u003c/a>.” Two years later, a newly-solo Gwen Stefani and Eve worked together on “Blow Ya Mind,” which won a Grammy for a new category: Best Rap/Sung Collaboration. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jay-Z’s “99 Problems,” released in 2003, came during the beginning of an important shift in American pop culture: as \u003ca href=\"https://www.theguardian.com/music/2004/may/02/popandrock#00s\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Guardian\u003c/em>’s Sean O’Hagan noted\u003c/a>, by October 2003, none of the top 10 songs on Billboard were by white artists for the first time. “\u003c/span>\u003cspan style=\"font-weight: 400\">The ascendancy of rap and contemporary R&B as the music of choice for young Americans, black and white, was total and irrefutable,” he wrote in 2004\u003c/span>\u003cspan style=\"font-weight: 400\">. Before “99 Problems,” rap historically leaned on rock, its older, angsty and rebellious sibling, for validation from the mainstream pop world. But in 2003, when Jay-Z shared his Rick Rubin-produced, cop-dodging anthem, rap was decades strong and was slowly overtaking rock as the more popular art form—\u003c/span>\u003cspan style=\"font-weight: 400\">though it would take nearly 15 years for it to dominate sales in the streaming era. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Unlike “Walk This Way,” the rap-rock collaborations of the early 2000s reflected a spirit of fun and collaboration rather than career-reviving necessity. Rap-rock group Linkin Park, which formed in 1996, released \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Collision Course\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> with Jay-Z in 2004. The EP’s only single, “Numb/Encore” went on to win a Best Rap/Sung Grammy. But this collaboration wasn’t about resuscitating anyone’s career: both acts were at the top of their game.\u003c/span>\u003c/p>\n\u003cp>https://youtu.be/yNPECkESPbU\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Collaborations like Avril Lavigne and Lil Mama’s 2007 solid “\u003ca href=\"https://youtu.be/EnwLrQ2ys_g\" target=\"_blank\" rel=\"noopener noreferrer\">Girlfriend\u003c/a>” remix continued the formula’s success into the late 2000s, but by the end of that decade, rap-rock had all but lost its cool. As Jayson Greene noted in \u003c/span>\u003ca href=\"https://pitchfork.com/features/overtones/the-unlikely-resurgence-of-rap-rock/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Pitchfork\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, listeners associated the genre with projects like Limp Bizkit’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Chocolate Starfish and the Hot Dog Flavored Water\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, an album that brimmed with toxic masculinity and copious amounts of shock value. Lil Wayne’s 2010 guitar-heavy album \u003c/span>\u003ca href=\"https://youtu.be/kY1DgtW5kIQ\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">Rebirth \u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">didn’t do as well as his previous releases, and Gen Xers and older millennials began to scoff at rap-rock’s seemingly irredeemable corniness. [aside postid='arts_13854359']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Nonetheless, by the second half of the 2010s, enough time had passed for cringe-worthy rap-rock memories to fade, and a new generation that grew up with this fusion took up the mantle. Rock star rappers that came after Lil Wayne, like Young Thug, Lil Uzi Vert and Travis Scott—and even more underground performers such as Bones and Xavier Wulf—picked up the pieces. In 2018, \u003c/span>\u003ca href=\"https://www.usatoday.com/story/life/music/2018/01/03/rap-overtakes-rock-most-popular-genre-among-music-fans-heres-why/990873001/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Neilson reported\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> that rap usurped rock as the best-selling genre, and rock continued to serve as a crucial source of inspiration for rap’s newer faces, including chart-topper Trippie Redd and 2019 \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">XXL\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> Freshman Rico Nasty. \u003c/span>\u003c/p>\n\u003cp>https://youtu.be/91QQqfr1qzE\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In a sense, the shift marks a return to form, as Chuck Berry, Little Richard and Big Mama Thornton and other black innovators are often credited for the invention of rock’n’roll. Collaborations continue, but the reception is different. Kendrick Lamar worked with U2 on his Pulitzer-winning album \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">DAMN.\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> (the first-ever rap album to win the prestigious award),\u003c/span> \u003cspan style=\"font-weight: 400\">but the album’s glowing reception had everything to do with Lamar’s vision and little with the rock giant’s cosign. The fledgling finally spread its wings and soared higher than anyone could’ve imagined in less than 40 years. \u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So now, when artists like pop-rap-rock crossover act Post Malone reach out to 21 Savage, the intent is different. Rap is now the top dog, the stamp of “cool” that rock acts turn to for charting material. Rock is still an endless well of auditory and visual inspiration. The two have historically helped one another sell, but above all, they’ve exposed each other’s demographics to new sounds and birthed some of the freshest material made the last several decades.\u003c/span>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">In 1986, rap was still a fledgling genre largely thought of as a fleeting trend—even though multiple hip-hop singles had reached the Billboard charts and Sugar Hill Records enjoyed seven years of success. Yet the genre’s \u003c/span>\u003cspan style=\"font-weight: 400\">new, creative energy proved to be the saving grace of one of the biggest rock bands of all time: Aerosmith, who were all but washed by the mid ’80s, with drug issues threatening the future of the band. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When Rick Rubin approached Aerosmith’s manager about working with the buzzing rap trio Run-DMC, both sides had reservations. But the groups got into the studio and pushed out a reworked version of the band’s 11-year-old track, “Walk This Way,” in a single day. The song peaked at No. 4 on Billboard’s Hot 100, charting higher than the original, and propelled Run-DMC’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Raising Hell\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> to become the\u003ca href=\"https://www.washingtonpost.com/archive/lifestyle/1986/08/29/run-dmc-and-the-rap-flap/552172c5-eef3-48f3-b700-028ef4bcd28f/\" target=\"_blank\" rel=\"noopener noreferrer\"> first Platinum-selling hip-hop album\u003c/a>. \u003c/span>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4B_UYYPb-Gk'\n title='//www.youtube.com/embed/4B_UYYPb-Gk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Six months later, Beastie Boys released \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Licensed to Ill\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, their rock-inspired debut album, also produced by Rick Rubin and Russell Simmons, that has since gone Diamond. (Beastie Boys had attempted to kick off the rap-rock trend two years earlier: in 1984, Def Jam withdrew their single “Rock Hard” because of an uncleared AC/DC sample.) Two months before \u003ca href=\"https://youtu.be/07Y0cy-nvAg\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Licensed to Ill\u003c/em>\u003c/a> came out, LL Cool J’s 1986 Rubin-produced song “\u003ca href=\"https://youtu.be/ZyswjkZJugI\" target=\"_blank\" rel=\"noopener noreferrer\">Rock the Bells\u003c/a>” also made Billboard’s Top 40. Def Jam was on top. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the 1990s, rock artists inspired by hip-hop, like Korn, Kid Rock and Limp Bizkit, were on the rise. Korn’s lead vocalist, Jonathan Davis, was a fan of Ice Cube and the gritty sounds of N.W.A., which was evident in the music he helped create. In 1998, the band collaborated with Ice Cube on “Children of the Korn,” exchanging hardcore verses that spoke to Gen X and Y rebellion, advising parents to “Report to your local church / Report to your local police department / It’s going down.” But Davis always resented the “rap metal” label, calling it “corny” \u003c/span>\u003ca href=\"https://allhiphop.com/features/jonathan-davis-of-korn-is-hip-hop-v91zVz_ZakWXULXJsJaAAw/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">in a 2007 interview\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/kdQN-B8aodw'\n title='//www.youtube.com/embed/kdQN-B8aodw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">The ’90s also birthed the rap girl/pop girl formula that was showcased on Melanie C (of Spice Girls) and Left Eye’s 1999 song, “\u003ca href=\"https://youtu.be/2nEzfa43VF8\" target=\"_blank\" rel=\"noopener noreferrer\">Never Be The Same Again\u003c/a>.” Two years later, a newly-solo Gwen Stefani and Eve worked together on “Blow Ya Mind,” which won a Grammy for a new category: Best Rap/Sung Collaboration. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jay-Z’s “99 Problems,” released in 2003, came during the beginning of an important shift in American pop culture: as \u003ca href=\"https://www.theguardian.com/music/2004/may/02/popandrock#00s\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Guardian\u003c/em>’s Sean O’Hagan noted\u003c/a>, by October 2003, none of the top 10 songs on Billboard were by white artists for the first time. “\u003c/span>\u003cspan style=\"font-weight: 400\">The ascendancy of rap and contemporary R&B as the music of choice for young Americans, black and white, was total and irrefutable,” he wrote in 2004\u003c/span>\u003cspan style=\"font-weight: 400\">. Before “99 Problems,” rap historically leaned on rock, its older, angsty and rebellious sibling, for validation from the mainstream pop world. But in 2003, when Jay-Z shared his Rick Rubin-produced, cop-dodging anthem, rap was decades strong and was slowly overtaking rock as the more popular art form—\u003c/span>\u003cspan style=\"font-weight: 400\">though it would take nearly 15 years for it to dominate sales in the streaming era. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Unlike “Walk This Way,” the rap-rock collaborations of the early 2000s reflected a spirit of fun and collaboration rather than career-reviving necessity. Rap-rock group Linkin Park, which formed in 1996, released \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Collision Course\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> with Jay-Z in 2004. The EP’s only single, “Numb/Encore” went on to win a Best Rap/Sung Grammy. But this collaboration wasn’t about resuscitating anyone’s career: both acts were at the top of their game.\u003c/span>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/yNPECkESPbU'\n title='//www.youtube.com/embed/yNPECkESPbU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Collaborations like Avril Lavigne and Lil Mama’s 2007 solid “\u003ca href=\"https://youtu.be/EnwLrQ2ys_g\" target=\"_blank\" rel=\"noopener noreferrer\">Girlfriend\u003c/a>” remix continued the formula’s success into the late 2000s, but by the end of that decade, rap-rock had all but lost its cool. As Jayson Greene noted in \u003c/span>\u003ca href=\"https://pitchfork.com/features/overtones/the-unlikely-resurgence-of-rap-rock/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Pitchfork\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, listeners associated the genre with projects like Limp Bizkit’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Chocolate Starfish and the Hot Dog Flavored Water\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, an album that brimmed with toxic masculinity and copious amounts of shock value. Lil Wayne’s 2010 guitar-heavy album \u003c/span>\u003ca href=\"https://youtu.be/kY1DgtW5kIQ\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">Rebirth \u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">didn’t do as well as his previous releases, and Gen Xers and older millennials began to scoff at rap-rock’s seemingly irredeemable corniness. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Nonetheless, by the second half of the 2010s, enough time had passed for cringe-worthy rap-rock memories to fade, and a new generation that grew up with this fusion took up the mantle. Rock star rappers that came after Lil Wayne, like Young Thug, Lil Uzi Vert and Travis Scott—and even more underground performers such as Bones and Xavier Wulf—picked up the pieces. In 2018, \u003c/span>\u003ca href=\"https://www.usatoday.com/story/life/music/2018/01/03/rap-overtakes-rock-most-popular-genre-among-music-fans-heres-why/990873001/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Neilson reported\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> that rap usurped rock as the best-selling genre, and rock continued to serve as a crucial source of inspiration for rap’s newer faces, including chart-topper Trippie Redd and 2019 \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">XXL\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> Freshman Rico Nasty. \u003c/span>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/91QQqfr1qzE'\n title='//www.youtube.com/embed/91QQqfr1qzE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">In a sense, the shift marks a return to form, as Chuck Berry, Little Richard and Big Mama Thornton and other black innovators are often credited for the invention of rock’n’roll. Collaborations continue, but the reception is different. Kendrick Lamar worked with U2 on his Pulitzer-winning album \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">DAMN.\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> (the first-ever rap album to win the prestigious award),\u003c/span> \u003cspan style=\"font-weight: 400\">but the album’s glowing reception had everything to do with Lamar’s vision and little with the rock giant’s cosign. The fledgling finally spread its wings and soared higher than anyone could’ve imagined in less than 40 years. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So now, when artists like pop-rap-rock crossover act Post Malone reach out to 21 Savage, the intent is different. Rap is now the top dog, the stamp of “cool” that rock acts turn to for charting material. Rock is still an endless well of auditory and visual inspiration. The two have historically helped one another sell, but above all, they’ve exposed each other’s demographics to new sounds and birthed some of the freshest material made the last several decades.\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Do List: Listen to Our Event Picks for Sept. 13–19",
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"content": "\u003cp>The weekend is almost here. Hooray!\u003c/p>\n\u003cp>Looking for things to do? Listen to KQED Arts’ Gabe Meline and Nastia Voynovskaya discuss their event picks at the audio link above, or read about each event below.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cstrong>Lights On Festival:\u003c/strong> On Sept. 14 at Concord Pavilion, there’s a chance to check out a new generation of R&B talent. Lights On Festival is an all-day extravaganza curated by rising artist H.E.R., a Grammy-winning singer from Vallejo. She’ll be joined by Ari Lennox, whose \u003c/span>\u003cspan style=\"font-weight: 400\">personal storytelling and rich voice shine on her recent album, \u003cem>Shea Butter Baby\u003c/em>. Jhene Aiko and Daniel Caesar are also on the bill, along with local artists Rayana Jay and Marc E. Bassy. Big festivals can be a bit overwhelming, so Lights On offers an antidote with a tightly curated lineup geared towards a specific music taste. \u003ca href=\"http://lightsonfest.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>San Francisco Fringe Festival: \u003cspan style=\"font-weight: 400\">One of the Bay Area’s most beloved theater events is happening at Exit Theatre through Sept. 14. If you’ve only ever been to giant touring musicals, the Fringe Festival is a way to experience the quirkier, more underground side of the theater spectrum. There are 19 short, boundary-pushing plays on tap—with titles like\u003cem> Why My Unicorn Left Me\u003c/em> and \u003cem>You’re Good for Nothing, I’ll Milk the Cow Myself\u003c/em>. It’s a thrilling example of what theater can be. And often, what theater audiences can be, as you become part of the show, or at least part of the bustle between shows. \u003ca href=\"https://www.sftourismtips.com/san-francisco-fringe-festival.html\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/span>\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cstrong>Jay Som:\u003c/strong> Jay Som, a.k.a. Melina Duterte, is one of the most exciting indie rock acts to come out of the Bay Area in recent years. She’s from the Contra Costa County suburb of Brentwood, and her low-key, relatable lo-fi pop has earned her a following far beyond the East Bay. Just a couple years ago, she was opening for Mitski at Starline Social Club in Oakland. Now \u003c/span>\u003cspan style=\"font-weight: 400\">she’s on a national headlining tour that stops at the legendary Fillmore in San Francisco on Sept. 14, promoting her sophomore album, \u003ci>Anak Ko. \u003c/i>\u003ca href=\"https://thefillmore.com/event/jay-som-with-boy-scouts-affectionately/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cstrong>\u003cem>Expressions of Divinity\u003c/em>:\u003c/strong> At the Triton Museum in Santa Clara, there’s something you don’t see every day: an exhibition of art from the Sikh faith, over five centuries old. \u003cem>Expressions of Divinity\u003c/em> contains work from several collections around the Bay Area, focused on the founder of the Sikh faith, Guru Nanak. If you had any doubt of the vast Indian population in the South Bay, consider that on opening day, the museum counted 500 visitors. The show is up through Nov. 3, and there’s an artist reception on Sept. 13. \u003ca href=\"http://www.tritonmuseum.org/exhibitions_expressions2019.php\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cem>\u003cstrong>FURY\u003c/strong>\u003c/em>\u003cstrong>:\u003c/strong> Remember the movie \u003cem>Mad Max: Fury Road\u003c/em>? You know, about the band of rogue adventurers fleeing from an evil cult leader in an apocalyptic desert? Well, there’s a ballet inspired by it called \u003cem>FURY\u003c/em> coming to the Tortona Big Top in downtown Oakland on Sept. 13 and 14. Choreographer Danielle Rowe adapted the action-packed, darkly funny film into a thrilling dance performance with original music by the North Bay indie pop band Yassou and composer Kristina Dutton. \u003ca href=\"https://www.furyshow.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cstrong>Blackalicious:\u003c/strong> In 1999, if you were anywhere in the Bay Area, you heard Blackalicious’ \u003cem>Nia\u003c/em> playing out of cars, at bars or restaurants, and especially around a scene that coalesced at the Justice League, a smoky club on Divisadero. On \u003cem>Nia\u003c/em>, Chief Xcel’s production is a combination of dusty and futuristic, and MC Gift of Gab is in top form. Blackalicious is excellent live, and they celebrate the album’s 20th anniversary in a show on Sept. 19 at Slim’s in San Francisco. \u003ca href=\"https://www.slimspresents.com/e/blackalicious-61971332925/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/span>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The weekend is almost here. Hooray!\u003c/p>\n\u003cp>Looking for things to do? Listen to KQED Arts’ Gabe Meline and Nastia Voynovskaya discuss their event picks at the audio link above, or read about each event below.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cstrong>Lights On Festival:\u003c/strong> On Sept. 14 at Concord Pavilion, there’s a chance to check out a new generation of R&B talent. Lights On Festival is an all-day extravaganza curated by rising artist H.E.R., a Grammy-winning singer from Vallejo. She’ll be joined by Ari Lennox, whose \u003c/span>\u003cspan style=\"font-weight: 400\">personal storytelling and rich voice shine on her recent album, \u003cem>Shea Butter Baby\u003c/em>. Jhene Aiko and Daniel Caesar are also on the bill, along with local artists Rayana Jay and Marc E. Bassy. Big festivals can be a bit overwhelming, so Lights On offers an antidote with a tightly curated lineup geared towards a specific music taste. \u003ca href=\"http://lightsonfest.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>San Francisco Fringe Festival: \u003cspan style=\"font-weight: 400\">One of the Bay Area’s most beloved theater events is happening at Exit Theatre through Sept. 14. If you’ve only ever been to giant touring musicals, the Fringe Festival is a way to experience the quirkier, more underground side of the theater spectrum. There are 19 short, boundary-pushing plays on tap—with titles like\u003cem> Why My Unicorn Left Me\u003c/em> and \u003cem>You’re Good for Nothing, I’ll Milk the Cow Myself\u003c/em>. It’s a thrilling example of what theater can be. And often, what theater audiences can be, as you become part of the show, or at least part of the bustle between shows. \u003ca href=\"https://www.sftourismtips.com/san-francisco-fringe-festival.html\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/span>\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cstrong>Jay Som:\u003c/strong> Jay Som, a.k.a. Melina Duterte, is one of the most exciting indie rock acts to come out of the Bay Area in recent years. She’s from the Contra Costa County suburb of Brentwood, and her low-key, relatable lo-fi pop has earned her a following far beyond the East Bay. Just a couple years ago, she was opening for Mitski at Starline Social Club in Oakland. Now \u003c/span>\u003cspan style=\"font-weight: 400\">she’s on a national headlining tour that stops at the legendary Fillmore in San Francisco on Sept. 14, promoting her sophomore album, \u003ci>Anak Ko. \u003c/i>\u003ca href=\"https://thefillmore.com/event/jay-som-with-boy-scouts-affectionately/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cstrong>\u003cem>Expressions of Divinity\u003c/em>:\u003c/strong> At the Triton Museum in Santa Clara, there’s something you don’t see every day: an exhibition of art from the Sikh faith, over five centuries old. \u003cem>Expressions of Divinity\u003c/em> contains work from several collections around the Bay Area, focused on the founder of the Sikh faith, Guru Nanak. If you had any doubt of the vast Indian population in the South Bay, consider that on opening day, the museum counted 500 visitors. The show is up through Nov. 3, and there’s an artist reception on Sept. 13. \u003ca href=\"http://www.tritonmuseum.org/exhibitions_expressions2019.php\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cem>\u003cstrong>FURY\u003c/strong>\u003c/em>\u003cstrong>:\u003c/strong> Remember the movie \u003cem>Mad Max: Fury Road\u003c/em>? You know, about the band of rogue adventurers fleeing from an evil cult leader in an apocalyptic desert? Well, there’s a ballet inspired by it called \u003cem>FURY\u003c/em> coming to the Tortona Big Top in downtown Oakland on Sept. 13 and 14. Choreographer Danielle Rowe adapted the action-packed, darkly funny film into a thrilling dance performance with original music by the North Bay indie pop band Yassou and composer Kristina Dutton. \u003ca href=\"https://www.furyshow.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cstrong>Blackalicious:\u003c/strong> In 1999, if you were anywhere in the Bay Area, you heard Blackalicious’ \u003cem>Nia\u003c/em> playing out of cars, at bars or restaurants, and especially around a scene that coalesced at the Justice League, a smoky club on Divisadero. On \u003cem>Nia\u003c/em>, Chief Xcel’s production is a combination of dusty and futuristic, and MC Gift of Gab is in top form. Blackalicious is excellent live, and they celebrate the album’s 20th anniversary in a show on Sept. 19 at Slim’s in San Francisco. \u003ca href=\"https://www.slimspresents.com/e/blackalicious-61971332925/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"radiolab": {
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"reveal": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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